Devaranama

Dhévaranāmas (names of the Lord/God) were the Bhakthi compositions that were the outcome of the Bhakthi movement in South India, especially Karnāṭaka during 13th century to 14th century CE, whose main objective was to promote Dvaitha philosophy of Madhvāchārya through literature. The compositions were by Haridhāsas who were saints, philosophers or plain wandering bards and thus, this part or section of literature came to be known as "dhāsa sāhithya" or the literature of the servants of the Lord.  Though the compositions were mainly on the concept of Hari bhakthi and are about Hari or Kriṣhṇa, a few composers also composed Dhévaranāmas using social values, morals and virtues as a theme. There are Dhévaranāmas composed on goddesses too. These compositions took an important and prominent place not only in the world of literature, but also in the vast field of art, especially Bharathanātyam. 

Śhrī Pādharāja Thīrtha is well-known as the grandfather of Haridhāsas (Haridhāsa Pithāmaha). Śhrī Purandhhara Dhāsa and Śhrī Kanaka Dhāsa were the chief architects.

If we look at the entire Haridhāsa Literature, one can divide into three categories. They are; General compositions, Kāvya or poetic compositions, thatthva or philosophic compositions/literature.

General compositions include all types of compositions which are very special. This can be further divided into the following groups; Kīrthanas, Ūghabhōgas, SūĪādhis, others.

Kīrthanas are the most attractive compositions of Haridhāsas. This is also called Dhévaranāma. Kīrthanas or Dhévaranāmas are melody based on technical compositions like Gītha whose purpose is to elucidate Rāga forms and Thāḷa patterns.

Rāga: Mohana

Thāḷa: Ādhi

Composer: Purandhara Dhāsa

Language: Kannaḍa

Meaning - Word by word: Team Ambalam

Meaning Overall:-Ramakriya – Rasikas.Org ; Http://Forumhub.Mayyam.Com/Hub

Alignment, Diacriticals & consequent spelling changes, Language & grammar editing, if any and necessary, of existing meaning: Team Ambalam

Pallavi:
Mella Mellane Bandhane Gopamma Kéḷe Mella Mellane Bandhane

Anupallavi:
Mella Mellane Bandhu Gallakke Muddhu Koṭṭu Nilladhe Ōḍi Pōdha Kaḷḷage Buddhi Péḷe

Charaṇam 1:
Hālu Māralu Pōdhare Ninnaya Kandha Kāligaḍḍava Kaṭṭidha
Hāla Sunkava Béḍi Kōlanne Aḍḍa Kaṭṭi Shaleya Seḷakondu Heladhodida Krshna

Charaṇam 2:
Mosara Māralu Podhare Ninnaya Kandha Hesarenendhele Kéḷidha
Hasanādha Heṇṇa Mele Kusumava Thandhikki Śhaśhimukhiyarigella Basiru Māḍidhanītha

Charaṇam 3:
Hōgire Rangayyana Méle Nīvu Dhūrenu Konḍubandhire
Yōgīśha Purandhhara Viṭṭhala Rāyana Thūgi Pāḍire Béga Nāgavéṇiyarella

This song is in the form of a conversation between the gopikas and Yaśhodhā. In the pallavi and charaṇas 1 &2, some of the gopika girls are complaining about Kriṣhṇa’s pranks, and in the last charaṇa, Yaśhodhā denies all the allegations saying he is just a baby.

Pallavi & Anupallavi:

Mella Mellane Bandhane Gopamma Kéḷe Mella Mellane Bandhane

Mella Mellane Bandhu Gallakke Muddhu Koṭṭu Nilladhe Ōḍi Pōdha Kaḷḷage Buddhi Péḷe

Mella – slowly;

Bandhane – came

Gopamma – O mother of the cowherd;

Kéḷe – listen;

Mella Mellane Bandhane - he came tip toed (slowly)

Gallakke – to the cheek;

Muddhu – kiss; Koṭṭu – gave;

Nilladhe – without waiting;

Ōḍi Pōdha – he ran;

Kaḷḷage – to that thief (here in the sense of stealing the heart)

Buddhi – sense;

Péḷe - tell

He came tip-toed. Listen, oh mother of gopikas, he came tip-toed. You take to task, that prankster who came in tip-toed, kissed my cheek and ran away.

Charanam 1:
Hālu Māralu Pōdhare Ninnaya Kandha Kāligaḍḍava Kaṭṭidha
Hāla Sunkava Béḍi Kōlanne Aḍḍa Kaṭṭi Shaleya Seḷakondu Heladhodida Kriṣhṇa

Hālu – Milk;

Māralu – to sell;

Pōdhare – when I went;

 Ninnaya – your;

 Kandha – son;

Kāligaḍḍava – across the legs;

Kaṭṭidha – came to block;
Hāla – milk; Sunkava- tax for;

Béḍi – asking; requesting etc

Kōlanne – the stick itself;

Aḍḍa Kaṭṭi – block across;

Shaleya – garment;saree;

Selakondu – snatched;

Heladhodida – pulled and ran

Kriṣhṇa – Lord Kriṣhṇa

When I went to the market to sell milk, your son comes in the way and stops me, asking for milk tax! He keeps a stick as a hurdle, pulls my saree and runs away!

Charaṇam 2:
Mosara Māralu Podhare Ninnaya Kandha Hesarenendhele Kéḷidha
Hasanādha Heṇṇa Mele Kusumava Thandhikki Śhaśhimukhiyarigella Basiru Māḍidhanītha

Mosara – curds;

Māralu -To sell;

 Podhare – when I go;

 Ninnaya – your;

 Kandha – son;

 Hesarenendhele – O what’s your name?

Kéḷidha –asked;
Hasanādha – beautiful;

Heṇṇa – girl; Mele – on;

 Kusumava – flowers;

 Thandhikki – place;

Śhaśhimukhiyarigella – moon faced girls;

Māḍidhanītha – made this man

When I went to sell curd, your son stops me asking my name! He brought flowers to beautiful maiden(s), and got those moon-faced girls charmed.

Charaṇam 3:
Hōgire Rangayyana Méle Nīvu Dhūrenu Konḍubandhire
Yōgīśha Purandhhara Viṭṭhala Rāyana Thūgi Pāḍire Béga Nāgavéṇiyarella

Hōgire – Go away you girls;

Rangayyana – Kriṣhṇa;

 Méle – on;

 Nīvu – all of you;

Dhūrenu – any complaint;

Konḍubandhire  - have brought
Yōgīśha – the lord of Yogis;

Purandhhara Viṭṭhala Rāyana - Purandhhara Viṭṭhala himself.

Thūgi  - swing;

Pāḍire – sing;

 Béga – quickly;

Nāgavéṇiyarella – all you girls with braids like snakes

(Yaśhodha) O girls, how could you bring these complaints against my little Rangayya? All you girls with snakelike braids quickly sing and swing my little son who is none other than the lord of all Yogis, Purandhara Viṭṭhala himself.